It’s a powerful whodunnit set-up, which kept me invested – just – for the ten hours it took to reach the reveal, despite narrative shortcomings elsewhere. Yet the mystery lying at his feet is more unusual than most, as Ronan has a series of bulletholes in his chest and his ‘unfinished business’ is to discover the identity of his own killer. Our hero Ronan is a roughly sketched amalgam of every anti-authority, lone-wolf detective popularised in film during the late ‘60s and early ‘70s a gravel-voiced cliche under a fedora. Being a ghost in Murdered is enjoyable in fits and starts, yet the use of your powers is brutally limited, resulting in an almost entirely scripted and therefore watered-down afterlife experience. But by the time the credits roll, that promise has only been partially fulfilled. As dead detective Ronan O’Connor, you are promised an enormous and exciting ghostly skillset with which to solve complex crimes, right wrongs, and gain unbridled access to the real-world town of Salem, Massachusetts.

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